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C’est le nouveau disque de Bouvelle et Romane ! »<br />Par le Romane et Éric Bouvelle Quintet </span><br /><strong><span class=Texte>Romane guitare solo</span><br /><span class=Texte>Éric Bouvelle accordéon</span><br /><span class=Texte>Mathieu Chatelain guitare rythmique</span><br /><span class=Texte>Laurent Zeller violon</span><br /><span class=Texte>Laurent Delaveau contrebasse</span></strong><br /><span class=Texte>Enregistré au Studio BOULEVARD par Laurent Claude en janvier 2017</span><br /><span class=Texte>Mixé et masterisé en février, mars 2017 par Laurent Claude, </span><br /><span class=Texte>Romane, Éric Bouvelle et Laurent Delaveau.</span><br /><span class=Texte>Photos : Laurent Claude</span><br /><span class=Texte>Tout le monde n’a pas la chance de naître dans une famille de musiciens.</span><br /><span class=Texte>C’est la raison pour laquelle, nous avons fondé la Swing Romane Académie </span><br /><span class=Texte>pour recréer un environnement musical pour tous.</span><br /><span class=Texte>www.swingromaneacademie.com</span><br /><span class=Texte>Production : Patrick Frémeaux </span><br /><span class=Texte>pour Groupe Frémeaux Colombini avec l’aide de la SCPP</span><br /><span class=Texte>Management-Booking : Aurélie Dandoy - MUSICART</span><br /><span class=Texte>tél : +33.(0)6.62.79.05.12 - site : www.musicart-grasse.fr - </span><br /><span class=Texte>musicart@musicart-grasse.fr</span><br /><span class=Texte>Éditions musicales titres 4, 6, 7 et 10 : © Éditions Frémeaux & Associés</span><br /><span class=Texte>Autres titres : copyright control</span><br /><span class=Texte>Droits : Frémeaux & Associés - site : preprod.fremeaux.com</span><br /><span class=Texte>Direction collection / coordination : Augustin Bondoux</span><br /><span class=Texte>Fabrication et distribution : Frémeaux & Associés</span><br /><span class=Texte>Cet album est né d’une rencontre. L’un vient du jazz, l’autre du musette. L’un est le grand rénovateur du jazz manouche, héritier de Django, l’autre, champion du monde d’accordéon, héritier de Jo Privat. Tous deux sont fins mélodistes et ont écrit et composé des centaines de chansons. Voilà la première fois que Romane et Éric Bouvelle se retrouvent sur disque. En résulte 12 pistes tonitruantes, dans la pure tradition des valses swing du Paris d’autrefois : les cordes frottent, l’accordéon souffle, le jazz et la java sont là et s’encanaillent ! Formidablement accompagnés par Mathieu Chatelain et Laurent Zeller et Laurent Delaveau (Les Pommes de ma douche), ils parviennent à mettre au goût du jour ce patrimoine populaire sophistiqué en réinterprétant les grands standards en lui offrant de nouveaux airs ! </span><br /><span class=Texte>Augustin BONDOUX & Patrick FRÉMEAUX<br /></span><span class=Texte>An album born from an encounter. One of them comes from jazz, the other from “musette”; one is the great renovator of gypsy jazz, one of Django’s heirs, and the other is the world’s accordion champion, the heir of Jo Privat. Both are refined melody experts with hundreds of songs to their credit as lyricists and composers. And yet this is the first time that Romane and Éric Bouvelle ever met up on record. The result is twelve thundering tracks in the pure swing-waltz traditions of Paris in the golden age: strings are plucked and rubbed, the accordion blows, and jazz gets together with java, low down… With magnificent accompaniment from Mathieu Chatelain, Laurent Zeller and Laurent Delaveau (aka “Les Pommes de ma douche”), Romane and Eric bring a sophisticated legacy up to date with new readings of some great standards that breathe fresh air!     Augustin BONDOUX & Patrick FRÉMEAUX</span><br /><span class=Texte>1 Swing valse (G. 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      "description" => "<p>Tcha Limberger is a violinist who can’t be ignored. After recording in World and Traditional genres (Budapest Gypsy Orchestra- FA8524, Trio Tatavla FA8550), here he returns to Swing with special guest Mozes Rosenberg (the young brother of Stochelo.) The album also features an elegant, impeccable rhythm section, both masters of swing and both from the band “Django à la Creole”, namely Dave Kelbie (who also produces, having put this disc together) and Sebastien Girardot. The warmth of this live recording brings out all the talent and generosity shown by Tcha and Mozes through some of the great standards… and when you hear their virtuoso playing, exceptional in this new generation of Gypsy jazz, you have to agree that the album, like Limberger and Rosenberg, just can’t be ignored. Augustin BONDOUX / Patrick FRÉMEAUX</p><br><br><p></p>"
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      "dwf_livret" => "<h3>FA8558 Tcha Limberger</h3><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Tcha Limberger Trio <br /></span></p><p align=justify><span class=Soustitre>with Mozes Rosenberg</span><span class=Soustitre2> <br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>&lsquo;Live&rsquo;</span><span class=Texte><br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>1&nbsp; MY BLUE HEAVEN&nbsp; 4&rsquo;59. Walter Donaldson<br />2&nbsp; AVALON&nbsp; 4&rsquo;25. Al Jolson<br />3&nbsp; POUR QUE MA VIE DEMEURE&nbsp; 5&rsquo;52. Django Reinhardt<br />4&nbsp; I SURRENDER DEAR&nbsp; 7&rsquo;27. Harry Barris<br />5&nbsp; MOONGLOW&nbsp; 6&rsquo;18. Will Hudson<br />6&nbsp; TOPSY&nbsp; 5&rsquo;45. Eddie Durham<br />7&nbsp; FLAMINGO&nbsp; 5&rsquo;23. Ted Grouya<br />8&nbsp; SOMEDAY YOU&rsquo;LL BE SORRY&nbsp; 5&rsquo;27. Louis Armstrong<br />9&nbsp; SOME OF THESE DAYS&nbsp; 5&rsquo;15. Shelton Brooks<br />10&nbsp; CLAIR DE LUNE&nbsp; 3&rsquo;45&nbsp; Django Reinhardt<br />11&nbsp; WHAT IS THIS THING CALLED LOVE&nbsp; 6&rsquo;04. Cole Porter<br />all arrangements by the quartet<br /></span><span class=Soustitre><br />La<br />petite<br />histoire</span><span class=Texte><br />Si le Tcha Limberger trio (Dave Kelbie, guitare, S&eacute;bastien Girardot, contrebasse et Tcha Limberger, violon, guitare, chant) a donn&eacute; quelques concerts en France et en Angleterre ces deux derni&egrave;res ann&eacute;es, ce disque propose un m&eacute;tissage culturel encore plus &eacute;tonnant que le trio d&rsquo;origine; il a &eacute;t&eacute; enregistr&eacute; lors de leur premier concert avec le guitariste Manouche hollandais Mozes Rosenberg. Cela parait assez incroyable tant est &eacute;vidente la complicit&eacute; de ces musiciens h&eacute;ritiers de cultures musicales distinctes. Le concert fut si incroyablement bon que Dave d&eacute;cida de le publier sur son propre label Lejazzetal. &nbsp;<br /></span><span class=Soustitre>Tcha<br />Limberger,<br />retrospective<br />galopante</span><span class=Texte><br />N&eacute; &agrave; Bruges en 1977 d&rsquo;une m&egrave;re flamande et d&rsquo;un p&egrave;re manouche (Vivi Limberger, guitariste membre du groupe Waso avec Fapy Lafertin et Koon de Cauter dans les ann&eacute;es 70), petit fils de Piotto Limberger, grande figure de l&rsquo;histoire du Swing Manouche en Hollande et en Belgique (1), Tcha baigne dans la musique depuis son plus jeune &acirc;ge. Malgr&eacute; ce riche h&eacute;ritage familial (il fut berc&eacute; dans son enfance par les disques de Django Reinhardt), il s&rsquo;est forg&eacute; une ouverture d&rsquo;esprit unique et un amour de toutes les bonnes musiques (jazz, musique classique, flamenco, musiques d&rsquo;Europe centrale&hellip;)<br />Malgr&eacute; sa c&eacute;cit&eacute;, Tcha apprend la guitare flamenca &agrave; l&rsquo;&acirc;ge de 6 ans (il passera ensuite &agrave; la guitare manouche) et explore tous les instruments ethniques qui lui tombent sous la main, ramen&eacute;s d&rsquo;Afrique ou d&rsquo;Asie par des amis de la famille. Vers l&rsquo;&acirc;ge de 10 ans, il apprend la clarinette, puis se passionne pour le violon &agrave; l&rsquo;&acirc;ge de 17 ans, trouvant un peu triste que tous les jeunes de son entourage familial se tournent vers la guitare. Lors d&rsquo;un festival de musique Tzigane &agrave; Budapest, il y &eacute;coute les meilleurs musiciens de Magyar Nota (2) ; il est tellement boulevers&eacute; qu&rsquo;il d&eacute;cide d&rsquo;apprendre le hongrois et de venir &agrave; Budapest pour essayer d&rsquo;apprivoiser cette musique merveilleuse. Pendant un an et demi il pratique le violon six heures par jour sous le regard du violoniste hongrois Bela Horvath. L&rsquo;existence du Budapest Gypsy Orchestra (form&eacute; par Tcha avec quelques-uns des meilleurs musiciens Hongrois) doit beaucoup &agrave; Dave Kelbie qui connait Tcha depuis des ann&eacute;es et partage son go&ucirc;t pour la musique Hongroise. Ayant toujours r&ecirc;v&eacute; d&rsquo;emmener un orchestre de Magyar Nota en Angleterre, Dave invitera Le Budapest Gypsy Orchestra &agrave; plusieurs reprises et produira leurs deux premiers disques pour son label, l&rsquo;un en 2009 enregistr&eacute; en public, l&rsquo;autre en 2015.<br />Depuis des ann&eacute;es, de nombreux musiciens font appel &agrave; Tcha pour enrichir leurs projets (Dick Van der Harst, Koen de Cauter, Jordi Savall, Fapy Lafertin, Romani, Rino Van Hooijdonk&hellip;) tant sur sc&egrave;ne que sur disque. S&rsquo;il y collabore avec plaisir, Tcha est aussi un musicien &agrave; part enti&egrave;re qui porte plusieurs projets musicaux, comme Tcha Limberger&rsquo;s Kalotaszeg Trio, Les Violons de Bruxelles &hellip;. ou le Tcha Limberger Trio. Si chaque projet est bien s&eacute;par&eacute; des autres, Tcha ne perd jamais l&rsquo;&acirc;me de la musique dans toutes ses entreprises.<br /></span><span class=Soustitre><br />Tcha<br />Limberger<br />Trio<br /></span><span class=Texte><br />Il s&rsquo;est constitu&eacute; autour d&rsquo;une passion commune pour le vieux jazz (tradition New Orleans et Swing). Pour assurer le groove, deux musiciens au CV grand comme le bras s&rsquo;imposaient naturellement : Dave Kelbie, v&eacute;ritable m&eacute;tronome conjuguant swing l&eacute;ger et beaux accords, tr&egrave;s sollicit&eacute; par les cadors du Swing Manouche (Fapy Lafertin et Ang&eacute;lo Debarre) et S&eacute;bastien Girardot, solide contrebassiste au jeu puissant et souple &agrave; la fois, tr&egrave;s demand&eacute; par les meilleures formations de jazz (Michel Pastre 5t et la Section Rythmique) ; bref, une rythmique imp&eacute;riale, assur&eacute;ment l&rsquo;une des meilleures dans le style, d&eacute;j&agrave; &agrave; l&rsquo;&oelig;uvre dans le projet pr&eacute;c&eacute;dent : Django &agrave; la Cr&eacute;ole. Mozes Rosenberg, le dernier venu, n&rsquo;est autre que le jeune fr&egrave;re de Stochelo. &Agrave; 35 ans (dont plus de 20 de m&eacute;tier), c&rsquo;est l&rsquo;une des nouvelles stars de la guitare Manouche. Brillant h&eacute;ritier de l&rsquo;&eacute;cole hollandaise des guitare, Mozes affirme sa propre personnalit&eacute;, m&ecirc;me si l&rsquo;influence de Stochelo est &eacute;vidente. Maitrisant tous les aspects de la guitare (arp&egrave;ges, jeu en accords et en sigle notes), il s&rsquo;illustre par de longs chorus au phras&eacute; d&eacute;li&eacute; et a&eacute;rien, parfois acrobatiques, toujours remarquablement construits et chantants, ponctu&eacute;s d&rsquo;acc&eacute;l&eacute;rations foudroyantes mais qui n&rsquo;oublient pas la musique en route. S&rsquo;il envoie fus&eacute;e sur fus&eacute;e (cf Some of these days), il sait aussi po&eacute;tiser avec finesse (cf son expos&eacute; magistral sur Flamingo ou son chorus apais&eacute; sur Clair de lune).<br />Tout ce beau monde se retrouve donc sur des standards qu&rsquo;ils ont jou&eacute;s dans tous les sens des centaines de fois dans des formations aux couleurs musicales distinctes : old time, jazz classique, New Orleans, Swing Manouche, teinte Tsigane&hellip; Ils les portent ici &agrave; un haut niveau d&rsquo;interpr&eacute;tation, y imprimant leur marque et leur classe (What is this thing called love, Avalon, Some of these days, My blue heaven&hellip;). Dans ses chorus toujours tr&egrave;s personnels et expressifs, Tcha conjugue le sens de l&rsquo;improvisation et du swing propres au jazzman qu&rsquo;il est aussi (cf ses interventions sur Avalon ou Topsy) et le lyrisme et le pathos propres au style Hongrois (nostalgie et sentiment) (cf Clair de lune : pur moment de po&eacute;sie en apesanteur ou le m&eacute;lancolique Pour que ma vie demure &agrave; l&rsquo;atmosph&egrave;re recueillie, chef d&rsquo;&oelig;uvre m&eacute;connu de Django et pour cause, ce morceau &eacute;tant un laiss&eacute; pour compte des sessions radio de 1947, ici dans une version de toute beaut&eacute;). Sur tempo lent, sa sensibilit&eacute; explose (cf son expos&eacute; sur Moonglow ou ses interventions po&eacute;tiques sur Flamingo). Fid&egrave;le en cela &agrave; la d&eacute;marche des Tsiganes, Tcha cr&eacute;e avec le mat&eacute;riau des autres (ici les standards de jazz) quelque chose qui lui est propre (cf sa version de What is this thing called love), mobilisant avec intelligence l&rsquo;&eacute;tendue de son bagage musical dans le jazz qu&rsquo;il joue. Tcha est aussi un chanteur sensible (cf la version chant&eacute;e et scatt&eacute;e de I surrender dear ou Someday you&rsquo;ll be sorry sur lequel il dialogue au chant avec son violon, fa&ccedil;on trompette bouch&eacute;e). Lors de certains concerts il chante aussi quelques chansons en roman&egrave;s. Bref, ce quartet va incontestablement faire parler de lui. &nbsp;<br /></span><span class=Soustitre>FRANCIS COUVREUX</span><span class=Texte><br /></span><span class=Source><br />Notes<br />(1)&nbsp;&nbsp; &nbsp;Le fr&egrave;re du charismatique Piotto Limberger est le p&egrave;re de Wasso Gr&uuml;nholz, le secret le mieux gard&eacute; des Pays-Bas ; bien qu&rsquo;il n&rsquo;ait rien enregistr&eacute; officiellement, Wasso est peut-&ecirc;tre le guitariste le plus important, dans la mesure o&ugrave; son influence fut d&eacute;terminante pour toute la g&eacute;n&eacute;ration de guitaristes manouches qui allait suivre (Fapy, Stochelo, Jimmy Rosenberg&hellip;). Chez les manouches, la musique est toujours une histoire de famille !<br />(2)&nbsp;&nbsp; &nbsp;Style hongrois urbain n&eacute; fin XIX&egrave;me et qui est en train de s&rsquo;&eacute;teindre.</span><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>The<br />Long<br />Story<br />Short<br /></span><span class=Texte><br />Over the last two years, Tcha Limberger&rsquo;s trio (Dave Kelbie, guitar; S&eacute;bastien Girardot, double bass; Tcha Limberger, violin, guitar, and vocals) have performed several concerts in France and in the UK. This recording though provides a cultural melting-pot even more astonishing than the original trio: it is a &lsquo;live&rsquo; recording of the first concert with Dutch Gypsy guitarist Mozes Rosenberg. Such complicity between performers, all four heirs to different musical traditions, makes it hard to believe that this was their first time playing together! The show was so incredibly good that Kelbie decided to issue it on his own label, Lejazzetal.<br /></span><span class=Soustitre>Tcha<br />Limberger</span><span class=Texte><br />Tcha was born in Bruges in 1977, from a Flemish mother and a Gypsy father (Vivi Limberger, guitarist with Waso, the band formed by Fapy Lafertin and Koen de Cauter in the 1970&rsquo;s). His grandfather Piotto Limberger was an important character in Holland and Belgium Gypsy Swing history (1). As early as a baby, Tcha was always surrounded by music. Although he was brought up on Django Reinhardt&rsquo;s recordings, Tcha remained very open-minded to all kinds of styles, and managed to develop an ecumenical musical culture: jazz, classical, flamenco, Central European melodies&hellip;<br />Despite his blindness Tcha started to learn flamenco guitar at the age of six and later on kept up practicing Gypsy Swing guitar, as well as every ethnic instrument he has the chance to lay his hand on, brought back by family or friends returning from Africa or Asia. In his tenth year, he learned to play the clarinet. A few years later at the age of seventeen, when his friends all chose to play the guitar, Tcha developed a deep passion for the violin and during a Gypsy music festival in Budapest had the chance to hear Magyar Nota&rsquo;s (2) best performers. This music moved him so deeply that he decided to learn the Hungarian language and to move to Budapest to master this marvelous and singular musical tradition. For a year and a half, six hours a day, he practiced the violin under the supervision of Hungarian famed violinist Bela Horvath. The band Tcha Limberger formed with some of Hungary&rsquo;s finest Gypsy musicians, The Budapest Gypsy Orchestra, owes a great deal to Dave Kelbie, a long term friend and colleague of Tcha who shares a common taste for Hungarian Music and an ambition to promote a Magyar Nota Orchestra in Britain. He invited The Budapest Gypsy Orchestra on several occasions and produced their first two CDs for the Lejazzetal label (a live recording in 2009, and a studio session in 2015).<br />Over the years many a musician has asked for Tcha to bring his unique tinge to their musical projects: Dick Van der Harst, Koen de Cauter, Jordi Savall, Fapy Lafertin, Romani, Rino Van Hooijdonk&hellip; Whilst he happily performs with his colleagues, Tcha also leads his own bands: The Kalotaszeg trio, Les Violons de Bruxelles, and of course his &lsquo;Tcha Limberger Trio&rsquo; to whom you are currently listening&hellip; as a quartet!<br /></span><span class=Soustitre><br />Tcha<br />Limberger<br />Trio<br /></span><span class=Texte><br />This project originated from a common passion of its members for traditional jazz styles and predominantly New Orleans and Swing. The groove was evidently taken care of by two musicians whose resumes are longer than their arms: Dave Kelbie, a human metronome who combines the softness of genuine swing with enriched chords (regularly invited by masters such as Angelo Debarre and Fapy Lafertin) and S&eacute;bastien Girardot, a solid double-bass magician, with both a strong and agile style, highly solicited by famed jazz lineups (Michel Pastre Quintet, La Section Rythmique&hellip;). In a word: an Imperial rhythm section, no doubt one of the best of its kind and tied together in the Lejazzetal hall of fame project: Django &agrave; la Cr&eacute;ole. Mozes Rosenberg, the newcomer to this project is no other than Stochelo Rosenberg&rsquo;s younger brother. At 35 he already has 20 years&rsquo; experience and he is one of Gypsy Swing guitar&rsquo;s newest gems. A brilliant heir to the Dutch informal &lsquo;Gypsy guitar academy&rsquo;, Mozes has achieved the development of his own voice despite the obvious connection to Stochelo Rosenberg&rsquo;s legacy. A master of every modern guitar player&rsquo;s skills (arpeggio, chord, and single note playing), Mozes illustrates himself with long, floating and sharp choruses, sometimes acrobatic, always remarkably formed and musical. If he occasionally blows proper musical torpedoes (Some of these days), he also knows that poetry lies in gentleness (listen to his masterly musical Flamingo and peaceful chorus in Clair de lune). These fine musicians gather together to perform standards they have played worldwide, hundreds of times, and in all kind of bands: old time music, classical jazz, New Orleans style, Gypsy Swing, Eastern Europe tinge&hellip; In this &lsquo;live&rsquo; recording they deliver a high level of very personal first-class performances (What is this thing called love, Avalon, Some of these days, My blue heaven&hellip;). Tcha delivers uniquely expressive choruses. In pieces such as Avalon and Topsy the tradition of improvisation that jazzmen and Gypsy Swing gladiators highly cherish is combined with the deep lyricism and pathos rooted in the Hungarian musical style. An approach that provides a nostalgic and sentimental mood resulting in moments of genuine weightlessness and poetry (Clair de lune, Flamingo), or meditational and melancholic (Pour que ma vie demeure an obscure 1947 masterpiece by Django). True to the Gypsy tradition Tcha creates a very personal music (What is this thing called love, for instance) while using another culture&rsquo;s tradition (the jazz standards), where he smartly rallies the skills gleaned from the limitless horizon of his musical legacy. If you add to this list Tcha&rsquo;s abilities as a singer, and the many languages he speaks (one can hear him sing in Gypsy tongue in many concerts), there is no doubt that this cosmopolitan band will spread his good words!<br /></span><span class=Soustitre>FRANCIS COUVREUX</span><span class=Texte><br /></span><span class=Source><br />Notes<br />(1)&nbsp;&nbsp; &nbsp;Charismatic Piotto Limberger&rsquo;s brother is the very father of Wasso Gr&uuml;nholz: Netherland&rsquo;s best hidden treasure!&nbsp; Although he hasn&rsquo;t officially recorded anything, Waso might be the country&rsquo;s most important guitarist, since his influence was decisive on any following guitar players that claim his legacy (Fapy Lafertin, Stochelo Rosenberg, Jimmy Rosenberg&hellip;). With Gypsy players, music is always a family business!<br />(2)&nbsp;&nbsp; &nbsp;Magyar Nota is an urban musical style originated in the late 19th century in Budapest which these days has all but died out.<br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Tcha Limberger Trio<br />with Mozes Rosenberg<br />&lsquo;Live&rsquo; in Foix</span><span class=Texte><br /><strong>TCHA LIMBERGER - violin/vocals<br />MOZES ROSENBERG - guitar<br />DAVE KELBIE - guitar rhythmique<br />SEBASTIEN GIRARDOT - double bass</strong></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Source><br /></span></p><p align=justify><span class=Source>A recorded performance for Association Art&rsquo;riege at Jazz &agrave; Foix<br />jazzfoix.com<br />Ecole Lucien Goron, Foix, France<br />Original sound recording by Rosemary<br />July 23rd, 2015<br />Filmed and recorded by Rosemary<br />Produced and Directed by Lionel Escama<br />Engineered by Luc Fourneau<br />Mastered by Minerva Pappi at Waudio, Helsinki<br />waudio.fi<br />P 2015-2017 Lejazzetal Records, London<br />&copy; 2019 Groupe Fr&eacute;meaux Colombini under license from Lejazzetal Records<br />Produced by Lejazzetal Records<br />Design &amp; artwork by Dave Kelbie<br />Assisted by Kathryn at Prestset<br />prestset.co.uk<br />Manufactured by Fr&eacute;meaux &amp; Associ&eacute;s<br />Photos<br />PACKAGE <br />front cover - film still<br />back cover, cristal Jacques Delrieu<br />BOOKLET<br />By Jacques Delrieu:<br />page 2/3 B&amp;W spread of Tcha Limberger<br />page 7 S&eacute;bastien Girardot<br />page 10 Dave Kelbie<br />jackphoto.fr<br />page 4/5 Mozes Rosenberg &amp; S&eacute;bastien Girardot - film still<br /></span><span class=Source><br />Sleeve notes by Francis Couvreux<br />Translation by Benjamin Goldenstein<br />Many thanks to Lionel Escama, Benjamin Goldenstein, Jacques Delrieu<br />Management: Lejazzetal London UK<br />dave.kelbie@gmail.com<br />tchalimberger.com<br />lejazzetal.com<br />fremeaux.com<br /><strong>Contact </strong><br />Lejazzetal Records London UK&nbsp;&nbsp; &nbsp;Fr&eacute;meaux &amp; Associ&eacute;s<br />Dave Kelbie&nbsp;&nbsp; &nbsp;Coordination: Augustin Bondoux<br />dave.kelbie@gmail.com&nbsp;&nbsp; &nbsp;info@fremeaux.com<br />for CDs, tour dates and more...&nbsp;&nbsp; &nbsp;full catalogue<br />www.lejazzetal.com&nbsp;&nbsp; &nbsp;preprod.fremeaux.com</span><span class=Texte><br />Tcha Limberger est un violoniste incontournable. Celui qui s&rsquo;est embarqu&eacute; sur des terrains monde et trad (Budapest Gypsy&rsquo;s orchestra-FA8524, trio Tatavla-FA8550), revient au swing en invitant Mozes Rosenberg, jeune fr&egrave;re de Stochelo Rosenberg. Ils sont soutenus par une section rythmique impeccable et &eacute;l&eacute;gante, assur&eacute;e par les maitres du swing, &agrave; savoir : Dave Kelbie (&eacute;galement producteur, &agrave; l&rsquo;initiative de cette rencontre) et S&eacute;bastien Girardot, issus de &laquo;&thinsp;Django &agrave; la cr&eacute;ole&thinsp;&raquo;. Enregistr&eacute; live, la chaleur de l&rsquo;enregistrement fait ressortir tout le talent et la g&eacute;n&eacute;rosit&eacute; des musiciens. Proposant les grands standards interpr&eacute;t&eacute;s par les plus &eacute;minents virtuoses issus de la nouvelle g&eacute;n&eacute;ration du jazz manouche, cet album est simplement et d&eacute;finitivement indispensable.<br /></span><span class=Soustitre>Augustin BONDOUX / Patrick FRÉMEAUX</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>Tcha Limberger is a violinist who can&rsquo;t be ignored. After recording in World and Traditional genres (Budapest Gypsy Orchestra-FA8524, Trio Tatavla-FA8550), here he returns to Swing with special guest Mozes Rosenberg (the young brother of Stochelo.) The album also features an elegant, impeccable rhythm section, both masters of swing and both from the band &ldquo;Django &agrave; la Creole&rdquo;, namely Dave Kelbie (who also produces, having put this disc together) and Sebastien Girardot. The warmth of this live recording brings out all the talent and generosity shown by Tcha and Mozes through some of the great standards&hellip; and when you hear their virtuoso playing, exceptional in this new generation of Gypsy jazz, you have to agree that the album, like Limberger and Rosenberg, just can&rsquo;t be ignored.&nbsp;&nbsp;&nbsp; <br /></span></p><p align=justify><span class=Texte>Augustin BONDOUX / Patrick FRÉMEAUX<br /></span></p>"
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      "description" => "<p><h3>AVEC GEORGES BRASSENS - J’AI RENDEZ-VOUS AVEC VOUS</h3></p><br><br><p>Guitarist Rodolphe Raffalli is known internationally for his performances of Georges Brassens material, and here he accompanies Renée Garlène, a singer whose precise, rare tone provides sensitive and delicate readings of the same composer’s repertoire. Together they form an extraordinarily musical duo: the guitar’s aerial phrases seem to hold conversations with the songs themselves, and the pair are backed by a wonderful rhythm section, notably partnered by Teofilo Chantre, the great musician from Cape Verde. Here the Brassens repertoire is tinted with jazz, swing and Brazilian rhythms, providing music that softly weaves through these songs to emphasize all the power of the poetry behind the melodies of Brassens. Augustin Bondoux & Patrick Frémeaux</p><br><br><p></p>"
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      "dwf_livret" => "<h3>LLL343 Raffalli Garlène</h3><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Rodolphe Raffalli &amp; Ren&eacute;e Garl&egrave;ne</span><span class=Texte><br /></span><span class=Soustitre>Avec Georges Brassens</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre2>J&rsquo;ai rendez-vous avec vous</span><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><strong>INCLUS<br />Cupidon s&rsquo;en fout<br />AVEC Teofilo Chantre</strong></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Rodolphe Raffalli &amp; Ren&eacute;e Garl&egrave;ne</span></p><p align=justify><span class=Soustitre>Avec Georges Brassens</span><span class=Soustitre2><br />J&rsquo;ai rendez-vous avec vous</span><span class=Texte><br />&nbsp;<br />&laquo;&thinsp;J&rsquo;essaye de faire une musique qui ne se voit pas trop, du moins qui ne s&rsquo;entend pas trop, j&rsquo;essaye de faire en sorte que ma musique ressemble &agrave; &ldquo;Aupr&egrave;s de ma blonde&rdquo; ou &ldquo;Sur le route de Dijon&rdquo;. J&rsquo;essaye que ma musique soit comme ces musiques-l&agrave;. Je ne tiens pas &agrave; ce que l&rsquo;attention du public soit d&eacute;tourn&eacute;e par des fioritures, par un son de fl&ucirc;te, par un son de trompette. J&rsquo;aime beaucoup justement &ccedil;a, j&rsquo;aurais beaucoup aim&eacute; avoir des orchestrations sur mes chansons mais je crois que ce n&rsquo;est pas &agrave; moi de faire &ccedil;a.&thinsp;&raquo;&nbsp;&nbsp; &nbsp;Georges Brassens &agrave; Louis Nucera, RTL, cit&eacute; dans &ldquo;Brassens, homme libre&rdquo;, Jacques Vassal, Le Cherche Midi, 2011. <br />&laquo;&thinsp;Les femmes aiment chanter Brassens, elles sont moins nombreuses que les hommes certes, mais toutes apportent &agrave; ses chansons un suppl&eacute;ment de tendresse qui parfois nous fait red&eacute;couvrir une &oelig;uvre que nous connaissons par c&oelig;ur. Aujourd&rsquo;hui Ren&eacute;e Garl&egrave;ne nous emm&egrave;ne vers son univers de Brassens &agrave; elle. Et nous nous y promenons avec plaisir. Et cette promenade agr&eacute;ment&eacute;e par le jeu limpide et flamboyant de la guitare de Rodolphe Raffalli vaut bien que l&rsquo;on &eacute;coute, que l&rsquo;on r&eacute;&eacute;coute et que l&rsquo;on partage avec ceux que l&rsquo;on aime ce disque lumineux.&thinsp;&raquo;<br /><strong>Jean-Paul Sermonte</strong> (Pr&eacute;sident de l&rsquo;association Les Amis de Georges) <br />&laquo;&thinsp;Elle a une voix noble, Ren&eacute;e Garl&egrave;ne, assise dans l&rsquo;aristocratie rare et naturelle de la chanson fran&ccedil;aise. Les beaux mots, la tournure po&eacute;tique conviennent &agrave; sa voix. Le swing et le jazz sont avec elle !&thinsp; (&hellip;)<br />Oh, les beaux artisans, oh la belle f&eacute;e, l&rsquo;oiselle, oh, l&rsquo;instrumentiste avis&eacute;, bravo, artistes! Pour vous deux, jolis passants, des vents et des &eacute;toiles que je souhaite favorables&thinsp;&raquo; <br /><strong>Denys-Louis Colaux</strong></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>1. Pauvre Martin 2&rsquo;35 <br />2. Embrasse-les tous 3&rsquo;17<br />3. Quatre-vingt-quinze pour cent 5&rsquo;04 <br />4. Philistins 3&rsquo;03<br />5. La Complainte des filles de joie 4&rsquo;14 <br />6. Brave Margot 5&rsquo;17 <br />7. Dans l&rsquo;eau de la claire fontaine 3&rsquo;26&nbsp; &nbsp;<br />8. Saturne 3&rsquo;44 <br />9. Le Bistrot 3&rsquo;43 <br />10. Maman, Papa (texte) 1&rsquo;56 <br />11. Maman, Papa 3&rsquo;04 <br />12. Le vent 1&rsquo;43 <br />13. J&rsquo;ai rendez-vous avec vous 3&rsquo;42 <br /><strong>Pistes bonus</strong><br />14. Chanson pour l&rsquo;Auvergnat 4&rsquo;32 <br />15. Je suis un voyou (instrumental) 2&rsquo;48 <br />16. Le P&egrave;re No&euml;l et la petite fille 3&rsquo;44 <br />17. Cupidon s&rsquo;en fout (feat. Teofilo Chantre) 5&rsquo;11&nbsp;&nbsp; <br /></span></p><p align=justify><strong><span class=Texte><br /></span></strong></p><p align=justify><span class=Texte><strong>Ren&eacute;e Garl&egrave;ne (chant) &bull; Teofilo Chantre* (chant sur 17) &bull; Rodolphe Raffalli (guitares)<br />S&eacute;bastien &laquo;&thinsp;Raoul&thinsp;&raquo; Gastine (contrebasse) &bull; Fabrice Thomson (percussions)</strong><br /></span><span class=Source>* Avec l&rsquo;aimable autorisation de Lusafrica</span><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><strong><span class=Texte><br /></span></strong></p><p align=justify><span class=Texte><strong>Remerciements :</strong><br />Nous remercions Patrick Fr&eacute;meaux et Augustin Bondoux.<br />Merci &agrave; S&eacute;bastien &laquo;&thinsp;Raoul&thinsp;&raquo; Gastine et Philippe Labroue pour ces paisibles et merveilleuses s&eacute;ances de travail, &agrave; Fabrice Thomson pour ses grandes facult&eacute;s d&rsquo;adaptation et sa bonne humeur, &agrave; Teofilo Chantre pour sa chaleureuse participation, &agrave; Jean-Paul Sermonte pour son accueil chaleureux, &agrave; Bernard Maillot, &agrave; Christian-Yves Guen et &agrave; Gaston-Fran&ccedil;ois Bergeret pour la s&eacute;ance photo.<br />Merci &agrave; l&rsquo;&eacute;crivain Belge, Denys-Louis Colaux pour le beau texte que notre duo lui a inspir&eacute;. La citation ci-avant, en est extraite.<br />Ren&eacute;e ne remerciera jamais assez Rodolphe Raffalli de lui avoir fait confiance et demande pardon &agrave; Georges Brassens d&rsquo;avoir malicieusement modifi&eacute; certains de ses textes. Elle adresse une pens&eacute;e &eacute;mue et reconnaissante &agrave; Philippe L&eacute;otard, l&rsquo;&eacute;claireur, d&eacute;sormais perch&eacute; l&agrave;-haut !</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Source>Cr&eacute;dit photos : Gaston-Fran&ccedil;ois Bergeret<br />Arrangements : Rodolphe Raffalli (guitares rythmiques swing et latino - guitare soliste) - <br />Ren&eacute;e Garl&egrave;ne (voix)<br />Enregistr&eacute; &agrave; St-Germain des Pr&eacute;s, Paris, par Philippe Labroue, <br />au Studio Labroue en Aout 2017 et Mars 2018.<br />Direction artistique Fr&eacute;meaux &amp; Associ&eacute;s : Augustin Bondoux<br />Direction des collections et productions : Patrick Fr&eacute;meaux et Claude Colombini<br />preprod.fremeaux.com<br />Rodolphe joue sur une guitare Maurice Dupont &eacute;quip&eacute;e d&rsquo;un micro Stimer <br />(mod&egrave;le S 51 Christian-Yves Guen) et utilise des cordes Argentine-Savarez<br />Contacts : <br />06 12 24 19 16 - raffalli59@yahoo.fr<br />06 31 18 54 89 - reneegarlenechante@orange.fr</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Rodolphe RAFFALLI</span><span class=Texte>, guitares rythmiques et solos<br />Guitariste fran&ccedil;ais n&eacute; le 20 mai 1959, Rodolphe Raffalli commence l&rsquo;apprentissage de son instrument d&egrave;s l&rsquo;&acirc;ge de 8 ans. <br />Autodidacte, il fait ses premiers pas &agrave; la guitare sous l&rsquo;ombre tut&eacute;laire du grand Django Reinhardt, mais loin de s&rsquo;enfermer dans une esth&eacute;tique unique, Rodolphe fr&eacute;quente avec bonheur les chemins de traverse qui lui feront tour &agrave; tour d&eacute;couvrir la chanson fran&ccedil;aise, la musique classique, le folklore d&rsquo;Am&eacute;rique latine, le jazz traditionnel et surtout l&rsquo;improvisation. <br />C&rsquo;est par un coup de ma&icirc;tre qu&rsquo;il se fait conna&icirc;tre du grand public. En 2001, Rodolphe se d&eacute;cide &agrave; enregistrer son premier album ! L&rsquo;ann&eacute;e est symbolique&thinsp;; ce sont les 80 ans de la naissance de Georges Brassens, mais aussi le vingti&egrave;me anniversaire de son d&eacute;c&egrave;s. Rodolphe lui consacre un album magnifique, tout de lyrisme et de pudeur, d&rsquo;admiration fertile et de travestissements respectueux. Publi&eacute; par le label La Lich&egrave;re et Fr&eacute;meaux &amp; Associ&eacute;s, le disque fut un &eacute;v&eacute;nement m&eacute;diatique. Meilleure vente de jazz 2002 pour un &eacute;diteur ind&eacute;pendant (d&rsquo;apr&egrave;s GFK Pannel), le disque inspire au grand critique Alain Gerber les mots suivants : &laquo;&thinsp;Personne avant lui n&rsquo;avait si finement d&eacute;gag&eacute; le lyrisme du chanteur-po&egrave;te ni montr&eacute; ce qui le rattache &agrave; la tradition du swing. Son disque est exquis&thinsp;&raquo; (Diapason). Deux ans plus tard, Rodolphe nous gratifiait d&rsquo;un second disque, plus purement jazz-swing que le pr&eacute;c&eacute;dent, mais tout aussi original&#8239;: compositions de Django alternent avec des adaptations de quelques monstres sacr&eacute;s de la vari&eacute;t&eacute; (Aznavour, Trenet, Gainsbourg !), standards am&eacute;ricains et compositions personnelles. <br />En novembre 2006, Rodolphe livrait un volume 2 de l&rsquo;&laquo;&thinsp;Hommage &agrave; Georges Brassens&thinsp;&raquo; avec continuant ainsi d&rsquo;affirmer la fertilit&eacute; du m&eacute;tissage entre cr&eacute;ation contemporaine et patrimoine intemporel. <br />En 2008, il revient en studio avec le disque &laquo;&thinsp;Le retour&thinsp;&raquo; au sein d&rsquo;un quartet totalement renouvel&eacute; qui lui permet de renouer avec ses premi&egrave;res amours : la musique sud-am&eacute;ricaine et le jazz. Rodolphe y exprime pleinement son exceptionnel feeling et la diversit&eacute; de sa palette. En 2010, il rend un vibrant hommage &agrave; sa Corse d&rsquo;origine avec &laquo;&thinsp;Un pied sur l&rsquo;&icirc;le&thinsp;&raquo;. <br />En 2013 le m&eacute;lodiste rend un hommage d&eacute;capant au grand r&eacute;pertoire de la chanson fran&ccedil;aise (Trenet, Aznavour, Ferr&eacute;, Piaf,&hellip;) avec &laquo;&thinsp;Chansonnettes&thinsp;&raquo; (Must TSF Jazz), o&ugrave; il explore, avec tout le talent qui est le sien, les grands airs du patrimoine universel. <br />En 2014 Fr&eacute;meaux &amp; Associ&eacute;s / La Lich&egrave;re met &agrave; la disposition du public un disque live enregistr&eacute; en 1996 aux pieds de la cath&eacute;drale Notre Dame. Un enregistrement savoureux qui annonce la parution de son disque &laquo;&thinsp;&Agrave; Georges Brassens&thinsp;&raquo; et qui donne &agrave; l&rsquo;auditeur toute la mesure du talent de l&rsquo;artiste. En 2015, Fr&eacute;meaux &amp; Associ&eacute;s publie avec La Seine-TV le premier DVD live du guitariste en trio avec les fr&egrave;res Gastine. <br />2016 marque le retour aux sources pour le guitariste qui rend hommage au folklore latino-am&eacute;ricain avec notamment Raul Barboza et Rudi Flores. <br />2018 annonce le premier disque &laquo;&thinsp;de chansons&thinsp;&raquo; du guitariste, qui accompagne la chanteuse Ren&eacute;e Garl&egrave;ne, un album d&rsquo;un rare raffinement.<br />Benjamin GOLDENSTEIN &amp; Augustin BONDOUX</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Ren&eacute;e GARL&Egrave;NE</span><span class=Texte>, chant<br />Apr&egrave;s avoir &eacute;cout&eacute; et conseill&eacute; les disques des autres, Ren&eacute;e Garl&egrave;ne enregistre enfin son propre opus, bienheureuse aux c&ocirc;t&eacute;s du guitariste de jazz, Rodolphe Raffalli.<br /></span><span class=Soustitre><br />Teofilo CHANTRE</span><span class=Texte>, chant (invit&eacute; sur &laquo;&thinsp;Cupidon s&rsquo;en fout&thinsp;&raquo;)<br />Auteur-compositeur-interpr&egrave;te originaire des &icirc;les du Cap Vert vivant &agrave; Paris depuis l&rsquo;adolescence. Il a beaucoup &eacute;crit pour Cesária Évora tout en poursuivant une carri&egrave;re d&rsquo;interpr&egrave;te chantant en capverdien et en fran&ccedil;ais ses propres compositions.<br />S&eacute;bastien &laquo;&thinsp;Raoul&thinsp;&raquo; GASTINE, contrebasse<br />Musicien &eacute;clectique et versatile, il commence par &eacute;tudier le jazz au CIM, tout en am&eacute;liorant sa technique aupr&egrave;s de musiciens am&eacute;ricains de passage &agrave; Paris. Tr&egrave;s vite il trouve sa place dans diff&eacute;rentes formations de jazz (Michel Grailler, Sunny Murray, Richard Raux, J&eacute;r&ocirc;me Barde, David El Malek&hellip;) et se produit r&eacute;guli&egrave;rement dans les clubs de la capitale. Il rencontre alors Teofilo Chantre, chanteur et compositeur Cap-verdien (Cesária Évora), dont il int&egrave;gre le groupe et avec lequel il enregistrera 3 albums avec tourn&eacute;es en France et &agrave; l&rsquo;&eacute;tranger. Il participe au d&eacute;marrage de Babx en prenant part &agrave; la production du premier album de ce dernier. Parall&egrave;lement au travail de studio pour des albums de chanson (Balbino Medellin, L, Cam&eacute;lia Jordana, Babx, Flip Grater&hellip;), il poursuit son chemin dans le jazz fran&ccedil;ais en devenant l&rsquo;un des contrebassistes de pr&eacute;dilection de la sc&egrave;ne &laquo;&thinsp;manouche&thinsp;&raquo;, c&rsquo;est aupr&egrave;s de Rodolphe Raffalli que se noue la collaboration la plus r&eacute;guli&egrave;re.<br /></span><span class=Soustitre>Fabrice THOMPSON</span><span class=Texte>, percussions<br />Musicien, percussionniste et batteur n&eacute; &agrave; Cayenne en Guyane Fran&ccedil;aise. Il arrive en m&eacute;tropole en 1988, et suit une formation musicale &agrave; L&rsquo;American School of Modern Music de Paris. Musicien professionnel, il fr&eacute;quente le milieu du jazz et joue notamment avec le trio Remi Jannin et obtient une m&eacute;daille d&rsquo;or a l&rsquo;ENMD de Montreuil en 1998. Il &eacute;volue &eacute;galement dans le domaine de la World Music (Afrique, USA, Cuba, Br&eacute;sil, Cap Vert, Mayotte, Comores, Madagascar, etc.)<br />Il participe &agrave; de nombreux projets musicaux et discographiques: Cesária Évora, Teofilo Chantre, Bonga, Lura, Paulino Vieira, Mikidache, JustinVali, Bernard Lavilliers et d&rsquo;autres...<br />Il travaille avec un set de percus de &laquo;&thinsp;combat&thinsp;&raquo;, avec l&rsquo;utilisation du cajon, des Bongos au sol, et quelques &eacute;l&eacute;ments de la batterie.<br />La musique d&egrave;s son plus jeune &acirc;ge a fait partie de sa vie et le restera encore tr&egrave;s longtemps.<br />Rodolphe Raffalli, qui s&rsquo;est fait connaitre &agrave; l&rsquo;international pour la r&eacute;interpr&eacute;tation des chansons de Georges Brassens &agrave; la guitare, accompagne Ren&eacute;e Garl&egrave;ne, chanteuse d&rsquo;une rare justesse, qui d&eacute;livre une version d&eacute;licate et sensible de ce r&eacute;pertoire. Un duo musical de haute vol&eacute;e, o&ugrave; la guitare, en volutes l&eacute;g&egrave;res et d&eacute;licates, entame un dialogue avec le chant, le tout support&eacute; par une formidable rythmique. &Agrave; noter la pr&eacute;sence en invit&eacute; de Teofilo Chantre, le grand musicien cap-verdien. Le r&eacute;pertoire de l&rsquo;auteur de l&rsquo;Auvergnat se teinte de jazz, de swing et de rythmes br&eacute;siliens. Une musique vagabonde et a&eacute;rienne, qui souligne toute la puissance po&eacute;tique et m&eacute;lodique des chansons de Georges Brassens.<br /><strong>Augustin Bondoux et Patrick Fr&eacute;meaux</strong></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>Guitarist Rodolphe Raffalli is known internationally for his performances of Georges Brassens material, and here he accompanies Ren&eacute;e Garl&egrave;ne, a singer whose precise, rare tone provides sensitive and delicate readings of the same composer&rsquo;s repertoire. Together they form an extraordinarily musical duo: the guitar&rsquo;s aerial phrases seem to hold conversations with the songs themselves, and the pair are backed by a wonderful rhythm section, notably partnered by Teofilo Chantre, the great musician from Cape Verde. Here the Brassens repertoire is tinted with jazz, swing and Brazilian rhythms, providing music that softly weaves through these songs to emphasize all the power of the poetry behind the melodies of Brassens.&nbsp;&nbsp;&nbsp; <strong><br /></strong></span></p><p align=justify><span class=Texte><strong>Augustin Bondoux &amp; Patrick Fr&eacute;meaux</strong><br /></span></p><p align=justify><br /></p><br /><p align=justify><span class=Texte><br /></span></p>"
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        <h3>avec YAYO REINHARDT et FANTO REINHARDT</h3>\n
        <p><br /><br /></p>\n
        <p>Romane is a leading figure among those who, at the dawn of the 2000s, put their seal on the gypsy jazz renaissance. The evolution of this music owes much to his discography, and his compositions have become classics in the genre. On Acoustic Quartet, Romane is royally assisted by the brothers Yayo and Fanto Reinhardt, who lay down the metronome-steady beat the French call “the pump”, and by Pascal Berne on double bass, whose sense of swing is second to none. On guitar, Romane has a free hand to apply his virtuoso touch and feeling for melody, proving once again that, under the benevolent eye of Django, six-string jazz still has a fine future. Augustin BONDOUX <br /><br />As the publisher of the complete recordings of Django Reinhardt — the set is a work of reference with 40CDs and booklets totalling 760 pages — Frémeaux &amp; Associés today counts as one of the premier independent producers of gypsy jazz. This genre, as erudite and technical as it is generous and approachable, demonstrates the cultural and musicological richness of the gypsy contribution to western culture. Romane is one of their most eminent representatives and his compositions have become genuine standards. Frémeaux &amp; Associés celebrates the work of this guitarist in a collection covering his entire career as a recording-artist, available to the public as a “Complete Works” set with Acoustic Quartet as its seventh volume. Patrick FRÉMEAUX <br /><br />“Album after album, Romane demonstrates the vitality of a music-style and frame of mind which some people thought could only exist in the past tense.” Romain GROSMAN - VIBRATIONS</p>\n
        <p><br /><br /></p>\n
        <p></p>
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        <h3>Acoustic quartet FA8510</h3>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre2">Intégrale Romane Volume 7</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre2">Acoustic Quartet</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"> </p>\r\n
        <p class="MsoNormal" align="justify"> </p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>1. Fill In Guitar</strong> (Romane)  3’06</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>2. Danube</strong> (trad. / arrgt. Romane)            3’07</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>3. Temporary</strong> (Romane)     3’24</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>4. Los del Sur </strong>(Romane)   4’05</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>5. Just for Rhythm</strong> (Romane)       2’57</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>6. Quartier Blues </strong>(Romane)          3’17</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>7. Symphonie</strong> (Django Reinhardt)          2’10</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>8. Smile for You</strong> (Romane)           4’30</span></p>\r\n
        <p><span class="Texte"><strong>9. Envie de bohême</strong> (Romane)    3’36</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>10. Hungaria</strong> (Django Reinhardt)            2’50</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>11. Orientissime</strong> (Romane)           4’05</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>12. My One and Only Love</strong> (G. Wood / R. Mellin)        1’51</span></p>\r\n
        <p><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>ROMANE </strong>: guitare solo</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>YAYO REINHARDT :</strong> guitare rythmique</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>FANTO REINHARDT : </strong>guitare rythmique</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong>PASCAL BERNE :</strong> contrebasse</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Romane joue sur une guitare Dupont modèle «?Vieille Réserve?».</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Yayo et Fanto jouent sur guitares Busato.</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Enregistré en septembre 2002 au studio Big Bone</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Réalisation, prise de son et mixage :<strong> Alexis Blanchart</strong></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Photo :<strong> Alexis Blanchart</strong></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Droits Master : Groupe Frémeaux Colombini SAS</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Direction réédition Intégrale Romane : </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Patrick Frémeaux avec Benjamin Goldenstein et Augustin Bondoux</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Première parution en 2002 chez Iris music production</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Frémeaux & Associés cessionnaire 2010-2016</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre">Aller à l’essentiel. </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Voilà ce qui semble dicter l’orientation prise par Romane sur cette galette. L’essentiel, c’est avant tout Django quand on joue du jazz dit «?manouche?». Mais la force de Romane vient de sa capacité à trouver sa propre voix dans un style qui frôle, voire dépasse bien souvent la caricature. Les sempiternelles reprises des «?saucissons?» à la sauce gypsy en sont la preuve. Romane a la spécificité de s’inspirer du maître, sans essayer de l’imiter ou de se lancer dans une énième version d’«?All of minor nuages de mes rêves?». </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Bien sûr, le Monsieur excelle dans le domaine, mais il garde ça pour les boeufs ou rencontres improvisées. Depuis son premier CD, «?Swing for Ninine?», sorti en 1992, Romane demeure l’un des rares musiciens à proposer des compositions. Cet opus en est encore un bel exemple. Huit des douze titres sont signés du guitariste et joués pour la première fois. Deux morceaux sont quand même signés de Django. Il s’agit de «?Symphonie?», un morceau peu joué, enregistré en 1947 et du plus classique «?Hungaria?» que Romane reprend à son compte. <br /></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre">Mais revenons à l’essentiel. </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Le défi de Romane n’est pas des moindres. Rester proche des racines, de l’esprit insufflé par Django en essayant de trouver d’autres voies, plus modernes. Autre particularités de Romane : savoir s’entourer et placer sous la lumière des musiciens d’exception. Lui qui a découvert la musique des gitans en l’écoutant dès son plus jeune âge, notamment à La Chope des puces de Saint Ouen, a su rendre la pareil en invitant des musiciens souvent peu connus. Ce fut le cas en produisant et en jouant sur le premier CD de Tchavolo Schmitt («?Alors voilà?»), en invitant Angelo Debarre sur «?Samois sur Seine?» à une époque ou peu de monde ne le connaissait… </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Pour ce CD, il est allé dénicher les frères<strong> Yayo </strong>et<strong> Fanto Reinhardt</strong>. Originaires d’une famille de manouche d’Alsace, leur père «?Poro?» leur a enseigné la guitare rythmique, dans la pure tradition manouche, la pompe «?à la française?». Pas de relance, pas d’enrichissement. Une pompe droite, des accords simples, le tout au service du soliste. Mais quel swing !</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre">La pompe, l’essence même.</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">En prenant les 2 frères à la pompe, Romane s’est offert un green anglais pour poser son jeu. Leur drive est impeccable. Métronomique. Du velours pour tout soliste. L’oreille ne perçoit qu’une seule et même pulsation. Mais avec une profondeur envoutante. Les deux guitares réunies donnent de l’ampleur au son, une pulsation organique. Moitié batterie, moitié guitare, elles propulsent et mettent en valeur les phrases de Romane. Aidée également par ce soutien rythmique magistral, la contrebasse de Pascal Berne prend des libertés. S’envole. Se libère du rythme pour survoler les morceaux. Romane, lui, libère la piste de décollage. «?Temporary?», composé par Romane en est un bel exemple. Aussitôt le thème envoyé à l’unisson avec la guitare, Romane s’écarte pour laisser Pascal Berne et sa «?grand-mère?» se propulser sur la rampe de lancement de Fanto et Yayo. Le démarrage est tout en glissades contrôlées, avant la reprise frénétique du tempo, puis son ralentissement pour mieux repartir. Romane n’a plus qu’à les rejoindre pour s’envoler avec eux. Un petit bijou… On peut être surpris d’une telle entente, sachant que les musiciens ne découvrent les morceaux que juste avant leur enregistrement. C’est du reste surement ce qui donne leur fraicheur à bien des titres.</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre">Mais l’essentiel, c’est le son !</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Le point central de cette galette reste la guitare de Romane. Déjà sixième album solo. La maîtrise est au rendez-vous. Celle du phrasé et du son. Le guitariste ne cherche plus la copie ou la démonstration technique mais la vibration, la note précise. Même au sein de ses compositions c’est la quête de la simplicité qui donne tant d’énergie à ces 12 titres. </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Que ce soit pour les thèmes ou les solos, Romane démontre une grande facilité à faire swinguer une phrase, tout en conservant l’essentiel. La magie s’opérant grâce aux liaisons entre chaque note. Pour les solos, enregistrés pour la plupart en une prise, Romane ne se répète pas. Chaque phrase est liée à la précédente. Même s’il possède un style reconnaissable, il évite les plans. </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Le placement rythmique est primordial. On retrouve cette aisance également dans ces compositions. Chaque thème parait évident. La respiration en est le moteur, comme sur «?Los del Sur?», où le thème paraît suspendu. Sur le swing implacable de «?Fill in guitar?», ou sur «?Orientissime?» aux accents classiques. Mais même au sein des reprises, Romane impose son style. C’est le cas du thème de «?Danube?», appelé également «?Les flots du Danube?» ou «?Anniversary Song?». Ce morceau, notamment joué par Django en 1947 et 1950, connait un regain d’intérêt grâce à la version proposée par Romane. Son phrasé et son placement rythmique donnent une autre couleur au morceau pour en accoucher d’une version reprise par la majorité des guitaristes amateurs d’aujourd’hui. Même chose pour «?Hungaria?» de Django se trouve «?Romanisé?». </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Rendre hommage à Django sans le copier relève d’un véritable défi pour beaucoup de guitariste du genre. Certain pensent que cette musique commence et se termine avec Django. Romane parvient ici avec brio à prouver le contraire.   <br /></span></p>\r\n
        <p class="MsoNormal" align="justify"><strong><span class="Texte">Christophe PILOT</span></strong></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">www.djangostation.com</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Source">© Frémeaux & Associés 2014</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre">Straight to the Essentials</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Romane’s orientation on this disc seems dictated by the phrase above. The “essential” here is the name Django, especially when you play what they call “gypsy” jazz, but Romane’s strength lies in his ability to find his own voice while playing in a style that borders on caricature — and even often overtakes it. The proof of that statement is in those eternal guitar-versions of other ditties served with a gypsy sauce. But Romane remains specific in the inspirations he draws from the Master’s work: he never tries to copy him, or whip out just another “Minor Swing”… </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Of course, Monsieur Romane excels in this domain, but he keeps it for jams and other improvised encounters. Ever since his first CD, Swing for Ninine (released in 1992), Romane has been one of the rare musicians to produce compositions of his own, and this opus is yet another fine example: eight of its twelve titles were penned by him and are played here for the first time. Even so, another two pieces bear Django’s signature: Romane’s performances of Symphonie, a piece not often played (it was recorded in 1947), and the more classical Hungaria. </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre">But let’s get back to Basics</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">The challenge facing Romane was complicated, to say the least: on the one hand, to stay close to the roots, and on the other, to remain faithful to the spirit which Django breathed into his playing by finding other, more modern ways to play. Another of Romane’s specific abilities has been to know how to choose his accompanists… and put such exceptional musicians in the limelight. As one who discovered the gypsies’ music by listening to them from childhood, notably at the club La Chope des puces in Saint Ouen, Romane manages to return the invitation by choosing musicians who are often “unknowns”. Take the case of Tchavolo Schmitt’s first CD, Alors voilà, for example — he produced and played on it — where his guest on Samois sur Seine was Angelo Debarre: at the time, nobody knew who he was…</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">For the present album, Romane sought out two brothers,<strong> Yayo</strong> and<strong> Fanto Reinhardt</strong>. Both from a gypsy family in Alsace, their father “Poro” taught them to play rhythm guitar in the purest gypsy tradition, the one the French call “la pompe”, that typical “pumping” sound: no reprises, no embellishments, just straightforward, percussive, up-down strokes played extremely fast behind the soloist. But oh my, does it swing!</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre">“Pump”, the very essence</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">When he chose these two brothers to pump out the rhythm, Romane gave himself a smooth tee to play his game: their drive is impeccable, like a metronome. A velvet surface for a soloist. The ear perceives one and the same pulse, but its depth is spellbinding. The two guitars together provide a very broad sound, an organic beat. Half-percussion, half-guitar, they propel Romane’s phrases to the forefront; and with the aid of this masterful rhythm-support, the double bass of Pascal Berne takes liberties, flying away, freed from the rhythm, to soar above these titles. As for Romane, he faces a clear runway, as on his own composition Temporary for instance: as soon as he states the theme, playing guitar in unison, Romane veers away to let Pascal Berne and his “grandma” move onto the launch-pad provided by Fanto and Yayo. They all take off in a controlled slide before the frenzied reprise of the tempo, and then its deceleration before launching into space again. And all Romane has to do is fly away alongside them. A little gem. You might be surprised by so much entente, given that the musicians only discovered these pieces just before recording them… But then again, that certainly has much to do with the freshness you can hear in these pieces.</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre">But the essential is the sound!</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Romane’s guitar remains the pivot here. This was already his sixth solo album, and it’s clear he’s lost none of his mastery. A master of phrasing and sound, the guitarist no longer had a thought for imitation or technical demonstration: what counted was vibration, the precise note. Even at the heart of his personal compositions, the quest for simplicity is the element which gives so much energy to these twelve titles. </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Whether you look at the melodies or his solos, Romane shows remarkable ease in causing a phrase to swing while preserving the essential. The magic here operates thanks to the liaisons between notes. As for the solos, most of which needed only a single take, Romane doesn’t repeat himself. Each phrase is linked to the previous one; while his style is instantly recognizable, it avoids patterns. </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">The rhythm set-up is of prime importance. The same facility can also be found in the compositions, where each theme appears self-evident. Breathing is the engine, as on Los del Sur, where the theme seems suspended, or in the implacable swing of Fill in guitar, or again Orientissime and its classical accents. But even when the song is a “reprise”, Romane imposes his style: take Danube, also variously known as Les flots du Danube or Anniversary Song. This piece, which was notably played by Django in 1947 and in 1950, is currently drawing interest again thanks to the version proposed by Romane. His phrasing and rhythmical placing song lend another colour to the tune, and they give rise to a version which today’s amateur guitarists have picked up in their majority. The same goes for Django’s Hungaria, which has also been “Romane-ized”. </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Paying tribute to Django without copying him is a challenge for any guitarist in the genre. There are those who still believe that this kind of music begins and ends with Django. But here, with brio, Romane proves the contrary.</span></p>\r\n
        <p class="MsoNormal" align="justify"><strong><span class="Texte">Christophe PILOT</span></strong></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">www.djangostation.com</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Adapted into English by <strong>Martin DAVIES</strong></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Source">© Frémeaux & Associés 2014</span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Romane est une figure de proue parmi ceux qui, à la charnière des années 2000, ont marqué d’un trait rouge le renouveau du jazz manouche. Son œuvre discographique est pour beaucoup dans l’évolution de cette musique et ses compositions sont devenues des classiques du genre. Sur Acoustic Quartet, Romane est royalement servi par les frères Yayo et Fanto Reinhardt, qui assurent une pompe métronomique, et par Pascal Berne à la contrebasse, dont le sens du swing est inénarrable. Le guitariste a le champ libre pour appliquer sa touche virtuose, son sens de la mélodie et prouve une nouvelle fois que, sous l’œil bienveillant de Django, le jazz à six cordes, a encore de beaux jours devant lui.      <br /></span></p>\r\n
        <p class="MsoNormal" align="justify"><strong><span class="Texte">Augustin BONDOUX</span></strong></p>\r\n
        <p class="MsoNormal" align="justify"><strong><span class="Texte"> </span></strong></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">«?Album après album, Romane démontre la vitalité d’une musique, d’un esprit, que d’aucuns croient devoir conjuguer au passé.?» </span></p>\r\n
        <p class="MsoNormal" align="justify"><strong><span class="Texte">Romain GROSMAN - VIBRATIONS</span></strong></p>\r\n
        <p class="MsoNormal" align="justify"><strong><span class="Texte"> </span></strong></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Éditeur de l’intégrale discographique de Django Reinhardt de référence (40 CD, 760 pages de livrets), Frémeaux & Associés est aujourd’hui l’un des premiers producteurs indépendants de jazz manouche. Cette musique tant généreuse et accessible, que savante et technique, démontre la richesse culturelle et musicologique de l’apport du genre manouche à la culture occidentale. Romane en est l’un des plus éminents représentants et ses compositions sont devenues de véritables standards. Frémeaux & Associés célèbre l’œuvre du guitariste en recueillant l’ensemble de sa carrière phonographique afin de la remettre à la disposition du public dans une Intégrale, dont Acoustic Quartet est le septième volume.                   <br /></span></p>\r\n
        <p class="MsoNormal" align="justify"><strong><span class="Texte">Patrick FRÉMEAUX</span></strong></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> </span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">Romane is a leading figure among those who, at the dawn of the 2000s, put their seal on the gypsy jazz renaissance. The evolution of this music owes much to his discography, and his compositions have become classics in the genre. On Acoustic Quartet, Romane is royally assisted by the brothers Yayo and Fanto Reinhardt, who lay down the metronome-steady beat the French call “the pump”, and by Pascal Berne on double bass, whose sense of swing is second to none. On guitar, Romane has a free hand to apply his virtuoso touch and feeling for melody, proving once again that, under the benevolent eye of Django, six-string jazz still has a fine future.   <br /></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> <strong>Augustin BONDOUX</strong></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong> </strong></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">“Album after album, Romane demonstrates the vitality of a music-style and frame of mind which some people thought could only exist in the past tense.”    <br /></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"> <strong>Romain GROSMAN - VIBRATIONS  <br /></strong></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte"><strong> </strong></span></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Texte">As the publisher of the complete recordings of Django Reinhardt — the set is a work of reference with 40CDs and booklets totalling 760 pages — Frémeaux & Associés today counts as one of the premier independent producers of gypsy jazz. This genre, as erudite and technical as it is generous and approachable, demonstrates the cultural and musicological richness of the gypsy contribution to western culture. Romane is one of their most eminent representatives and his compositions have become genuine standards. Frémeaux & Associés celebrates the work of this guitarist in a collection covering his entire career as a recording-artist, available to the public as a “Complete Works” set with Acoustic Quartet as its seventh volume. <br /></span></p>\r\n
        <p class="MsoNormal" align="justify"><strong><span class="Texte">Patrick FRÉMEAUX</span></strong></p>
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      "description" => "<p><h3>Marc JOUBERT - Philippe PLASSARD - Jean-Charles MATER - Serge SAUSSARD</h3></p><br><br><p>After the excellent reception given to Modern Swing (2007) and A brûle pourpoint (2014), we at last have the third album from the group Gadjo Combo. Once again they’ve brushed aside the codes and rules laid down by the genre’s governors, and these four disciples of Django have made gypsy jazz a basis for their own creations, turning it into a living repertoire fashioned in their own image. These artisans form a quartet that has been together for twenty years, and even if they admit they were in love with Jimi Hendrix before Django, they’ve given this music a shine and veneer that’s pleasing and original. The resulting pieces are just as delightful and full of colour; and the message in their work remains equally sincere. Augustin BONDOUX & Patrick FRÉMEAUX</p><br><br><p></p>"
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      "dwf_livret" => "<h3>Gadjo Combo - Slavopop LLL344</h3><p align=justify><br /></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Gadjo Combo - Slavopop</span><span class=Texte><br /></span></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>Apr&egrave;s les remarqu&eacute;s &laquo;&thinsp;Modern&rsquo; Swing&thinsp;&raquo; en 2007 et &laquo;&thinsp;&Agrave; br&ucirc;le pourpoint&thinsp;&raquo; en 2014, voici enfin le troisi&egrave;me album de Gadjo Combo. Faisant une nouvelle fois fi des codes et lois impos&eacute;s par les caciques du genre, ces &eacute;mules de Django voient le jazz manouche comme un support de cr&eacute;ation, un r&eacute;pertoire vivant, qu&rsquo;ils mod&eacute;lisent &agrave; leur image. En artisans, ces quatre musiciens, qui jouent ensemble depuis 20 ans (et qui confessent volontiers &ecirc;tre d&rsquo;abord tomb&eacute;s amoureux de Jimi avant Django), ont su ajouter une patine d&eacute;contract&eacute;e et originale &agrave; cette musique. Une &oelig;uvre toujours autant color&eacute;e et r&eacute;jouissante qui ravit par la sinc&eacute;rit&eacute; de son propos.&nbsp;&nbsp;&nbsp; <br /></span></p><p align=justify><span class=Soustitre>Augustin BONDOUX &amp; Patrick FRÉMEAUX</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>After the excellent reception given to Modern Swing (2007) and A br&ucirc;le pourpoint (2014), we at last have the third album from the group Gadjo Combo. Once again they&rsquo;ve brushed aside the codes and rules laid down by the genre&rsquo;s governors, and these four disciples of Django have made gypsy jazz a basis for their own creations, turning it into a living repertoire fashioned in their own image. 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Oui ! mai (Jean-Charles Mater) 2&rsquo;17<br /></span><span class=Soustitre>Philippe&nbsp; PLASSARD </span><span class=Texte><br />Violon , guitare &eacute;lectrique ,guitare rythmique , basse</span></p><p align=justify><span class=Soustitre>Marc JOUBERT</span><span class=Texte><br />Guitare solo ,guitare rythmique <br /></span></p><p align=justify><span class=Soustitre>Jean - Charles MATER </span><span class=Texte><br />Guitare rythmique <br /></span></p><p align=justify><span class=Soustitre>Serge SAUSSARD</span><span class=Texte><br />Basse<br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>Mixage et mastering&nbsp; : Thierry Lestien <br />Studio du fier (Annecy le Vieux) <br />studiodufier@gmail.com <br />R&eacute;alisation : Marc JOUBERT<br />www.gadjo-combo.com<br />www.facebook.com/gadjocomboquartet<br />Éditions musicales titres 1, 2 4, 5, 6, 8, 9, 11, 12 &amp; 13 : <br />&copy; Éditions Fr&eacute;meaux &amp; Associ&eacute;s<br />Fabrication et distribution : Fr&eacute;meaux &amp; Associ&eacute;s<br />preprod.fremeaux.com <br />Couverture&nbsp; : Art Concept Laurent Methot 2020<br />Photos , livret int&eacute;rieur : Malika <br /></span></p>"
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      "dwf_livret" => "<h3>Café du Brésil FA8583</h3><p><br /></p><p><br /></p><p align=justify><span class=Soustitre2>PARIS GADJO CLUB<br />CAFÉ DU BRÉSIL 2</span><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /><span class=Texte>Le Paris Gadjo Club s&rsquo;ouvre d&eacute;sormais aux grands classiques de la samba et de la bossa nova. Il revisite ici l&rsquo;&oelig;uvre des ma&icirc;tres du genre : Tom Jobim, Dorival Caymmi, Jo&atilde;o Donato ou Marcos Valle, avec sa patine swing unique. Un album qui transpire toute la joie de vivre, la spontan&eacute;it&eacute; et la candeur de ces deux musiques et qui fait dialoguer Paris et Rio, deux grands p&ocirc;les de la culture mondiale.</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;Augustin BONDOUX / Patrick FRÉMEAUX</span></p><p align=justify><br /></p><p align=justify><span class=Texte>The Paris Gadjo Club is now open to the great classics of samba and bossa nova. And this one revisits pieces by some of the genre&rsquo;s masters: take Tom Jobim for example, or Dorival Caymmi, Jo&atilde;o Donato and Marcos Valle&hellip; they have all taken on the Gadjo Club&rsquo;s unique swing veneer. This is an album brimming with joie de vivre, showing all the spontaneity and frankness of both music forms in a moving conversation between Paris and Rio, two of the greatest cultural centres in the world.&nbsp;&nbsp; &nbsp;Augustin BONDOUX / Patrick FRÉMEAUX</span><br /><span class=Texte>01.&nbsp;&nbsp; &nbsp;Aquarela do Brasil (Ary Barroso)&nbsp;&nbsp; &nbsp;3.55</span><br /><span class=Texte>02.&nbsp;&nbsp; &nbsp;Triste (Antonio Carlos Jobim)**&nbsp;&nbsp; &nbsp;4.32</span><br /><span class=Texte>03.&nbsp;&nbsp; &nbsp;As Rosas n&atilde;o Falam (Cartola)*****&nbsp;&nbsp; &nbsp;4.42</span><br /><span class=Texte>04.&nbsp;&nbsp; &nbsp;Sambou Sambou (Jo&atilde;o Donato)***&nbsp;&nbsp; &nbsp;4.07</span><br /><span class=Texte>05.&nbsp;&nbsp; &nbsp;Carinhoso (Pixinguinha)&nbsp;&nbsp; &nbsp;4.42</span><br /><span class=Texte>06.&nbsp;&nbsp; &nbsp;Samba de Uma Nota Só (Antonio Carlos Jobim)&nbsp;&nbsp; &nbsp;4.23</span><br /><span class=Texte>07.&nbsp;&nbsp; &nbsp;Fim de Sonho (Jo&atilde;o Donato)*&nbsp;&nbsp; &nbsp;4.36</span><br /><span class=Texte>08.&nbsp;&nbsp; &nbsp;Insensatez (Antonio Carlos Jobim)****&nbsp;&nbsp; &nbsp;4.01</span><br /><span class=Texte>09.&nbsp;&nbsp; &nbsp;Saudade da Bahia (Dorival Caymmi)*****&nbsp;&nbsp; &nbsp;4.21</span><br /><span class=Texte>10.&nbsp;&nbsp; &nbsp;Samba de Ver&atilde;o (Marcos Valle) &nbsp;&nbsp; &nbsp;4.06</span><br /><span class=Texte>11.&nbsp;&nbsp; &nbsp;Só Dan&ccedil;o Samba (Antonio Carlos Jobim) &nbsp;&nbsp; &nbsp;3.31</span><br /><span class=Texte>12.&nbsp;&nbsp; &nbsp;Samba Tokyo (Chiquinho Timoteo) pour Marine&nbsp;&nbsp; &nbsp;2.49</span><br /><span class=Texte>13.&nbsp;&nbsp; &nbsp;O Grande Amor (Antonio Carlos Jobim)&nbsp;&nbsp; &nbsp;4.11</span><br /><span class=Texte>Total Time : 53.56</span><br /><span class=Soustitre2><br />Musiciens </span><br /><strong><span class=Texte>Pierre-Louis Cas : clarinette</span><br /><span class=Texte>Christophe Davot : lead guitar, solo siffl&eacute; *</span><br /><span class=Texte>Stan Laferri&egrave;re : guitare rythmique, m&eacute;lodica**, solo guitare***</span><br /><span class=Texte>Éric Fournier : guitare rythmique, solo guitare ****</span><br /><span class=Texte>Laurent Vanh&eacute;e : contrebasse</span><br /></strong><br /><strong><span class=Texte>Special Guest </span><br /><span class=Texte>&nbsp;H&eacute;l&egrave;ne Argo : chant *****</span></strong><br /><span class=Soustitre2>&laquo; está&nbsp; d&eacute;licieux &raquo;. </span><br /><span class=Texte>&laquo; O Grupo Paris Gadjo Club&nbsp; faz uma música alegre e divertida, como &eacute; a nossa música brasileira. O Improviso, e a libertade, e espírito do jazz est&atilde;o presentes em cada momento,</span><br /><span class=Texte>nos fazendo muito felizes, o que &eacute; o objetivo da música. </span><br /><span class=Texte>O Sambou Sambou está d&eacute;licieux. &raquo;</span><br /><span class=Texte>&laquo; Le groupe&nbsp; Paris Gadjo Club&nbsp; fait une musique enjou&eacute;e et divertissante comme l&rsquo;est notre musique br&eacute;silienne. L&rsquo;improvisation, la libert&eacute; et l&rsquo;esprit du jazz sont</span><br /><span class=Texte>pr&eacute;sents &agrave; chaque instant, nous remplissant de bonheur, ce qui est la finalit&eacute; de la musique. &nbsp;</span><br /><span class=Texte>L&rsquo;album Sambou Sambou est d&eacute;licieux. &raquo;</span><br /><span class=Texte>Merci !</span><br /><span class=Texte>&nbsp;</span><br /><span class=Soustitre>Jo&atilde;o Donato</span><span class=Source> <br />Rio de Janeiro, Outubro 2020</span><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><br /><p align=justify><br /><span class=Soustitre2>Paris Gadjo Club ou Django meets Brazil</span><br /><span class=Texte>La premi&egrave;re vraie rencontre entre le jazz et la musique br&eacute;silienne a eu lieu dans les ann&eacute;es 1960 via Stan Getz, Coleman Hawkins et quelques autres. En 2018, presque 60 ann&eacute;es plus tard, le groupe Paris Gadjo Club, emmen&eacute; par le guitariste Christophe Davot, publiait Caf&eacute; du Br&eacute;sil, Swingin&rsquo; the Choro. Un premier disque remarqu&eacute;, hommage aux grands compositeurs de choro, salu&eacute; par le grand Hamilton de Holanda lui-m&ecirc;me, conjuguant musiques br&eacute;siliennes et swing manouche ; une convergence in&eacute;dite et pourtant si &eacute;vidente, tant les similitudes sautent aux oreilles, que l&rsquo;on s&rsquo;&eacute;tonne que personne n&rsquo;y ait pens&eacute; avant !</span><br /><span class=Texte>Rappelons tout de m&ecirc;me que Django Reinhardt enregistra trois versions de &laquo; Brazil &raquo;, superbe samba compos&eacute;e en 1939 par Ary Barroso et dont le vrai nom est Aquarela do Brasil (tube consid&eacute;r&eacute; &agrave; l&rsquo;&eacute;poque par les nord-am&eacute;ricains comme une &laquo; pacotille exotique &raquo; et dont Django fera l&rsquo;un de ses chevaux de bataille) : la premi&egrave;re en 1947, une autre &agrave; Rome en f&eacute;vrier 1949 et la derni&egrave;re, tr&egrave;s &eacute;pur&eacute;e du 10 mars 1953, &laquo; r&eacute;capitulation de tout ce que Django avait fait et de tout ce qu&rsquo;il commen&ccedil;ait &agrave; faire [...] un &eacute;quilibre parfait entre la richesse de la sonorit&eacute; et led&eacute;pouillement de la phrase &raquo; (1).</span><br /><span class=Texte>Avec ce Caf&eacute; du Br&eacute;sil II Sambou Sambou, il ne s&rsquo;agit pas d&rsquo;une redite du volume I, mais plut&ocirc;t d&rsquo;un prolongement. Si deux choros figurent sur ce nouvel opus, Carinhoso de Pixinguinha et As Rosas N&atilde;o Falam de Cartola (ce dernier tr&egrave;s joliment chant&eacute; par H&eacute;l&egrave;ne Argo, invit&eacute;e sur l&rsquo;album qui intervient &eacute;galement avec beaucoup d&rsquo;&eacute;motion sur Saudade da Bahia de Dorival Caymmi), le groupe explore ici la samba, la musique la plus populaire du Br&eacute;sil et la plus connue &agrave; travers le monde ; la bossa nova &agrave; la rythmique plus lente, syncop&eacute;e et &eacute;pur&eacute;e. Ces standards qui ne savent pas vieillir, m&ecirc;lent sensualit&eacute; des rythmes, &eacute;l&eacute;gance et beaut&eacute; des m&eacute;lodies de la musique br&eacute;silienne (O Grande Amor ou Samba de Uma Nota Só de Tom Jobim, Samba de Ver&atilde;o deMarcos Valle, etc.) . L&rsquo;approche reinhardtienne du Paris Gadjo Club les rev&ecirc;t d&rsquo;habits &eacute;l&eacute;gants et fort seyants : instruments &agrave; cordes pinc&eacute;es et clarinette (une instrumentation identique &agrave; celle du second quintette du Hot Club de France), avec cette pulsation qui bouge et ne bouge pas que l&rsquo;on appelle la pompe manouche et des chorus de guitare &agrave; la Django. Ainsi l&rsquo;on pourrait croire que tous ces morceaux ont &eacute;t&eacute; compos&eacute;s dans cette esth&eacute;tique tant ce traitement original les rend aussi neufs qu&rsquo;au premier jour.</span><br /><span class=Texte>Si le r&eacute;sultat a si fi&egrave;re allure, c&rsquo;est aussi et surtout parce que les musiciens de jazz chevronn&eacute;s qui se sont lanc&eacute;s dans cette aventure musicale et que l&rsquo;on retrouve dans moult formations, figurent parmi les meilleurs du jazz fran&ccedil;ais qui swingue.&nbsp; Une rythmique souple et l&eacute;g&egrave;re, redoutablement efficace (Laurent Vanh&eacute;e, contrebasse, Stan Laferri&egrave;re et Eric Fournier, guitares), d&eacute;roule le tapis &agrave; des solistes tr&egrave;s en verve : Pierre-Louis Cas, au jeu tr&egrave;s lyrique et constamment inspir&eacute; &agrave; la clarinette (cf. son solo sur Insensatez de Tom Jobim) et bien s&ucirc;r Christophe Davot, dont le phras&eacute; sensible et d&eacute;licat et les chorus remarquablement construits font chanter les notes avec l&eacute;g&egrave;ret&eacute; et une grande fra&icirc;cheur d&rsquo;inspiration (cf. son solo &agrave; la Fapy Lafertin sur O Grande Amor, par exemple).</span><br /><span class=Texte>Ici, pas d&rsquo;esbroufe ni de bavardage, mais des notes qui ont un sens et racontent une histoire. S&eacute;r&eacute;nit&eacute;, finesse, sensibilit&eacute; et musicalit&eacute; sont les ma&icirc;tres mots de ce quintette parfaitement &eacute;quilibr&eacute; qui laisse la musique respirer et o&ugrave; chacun a de la place pour s&rsquo;exprimer. </span><br /><span class=Texte>Ne se contentant pas d&rsquo;assurer la rythmique, Laurent Vanh&eacute;e par exemple se fait aussi soliste (cf. son jeu &agrave; l&rsquo;archet et son chorus sur Carinhoso et ses interventions sur Sambou Sambou de Jo&atilde;o Donato ou Só Dan&ccedil;o Samba de Tom Jobim). Sur l&rsquo;interpr&eacute;tation d&rsquo;Insensatez, renouvel&eacute;e par la pulsion swinguante de la pompe, c&rsquo;est Eric Fournier qui se fend d&rsquo;un chorus aux petits oignons.</span><br /><span class=Texte>Ajoutez &agrave; cela un vrai son d&rsquo;ensemble, une mise en place impeccable et des id&eacute;es d&rsquo;arrangement originales (sur le bluesy Triste de Jobim, le melodica du multi-instrumentiste surdou&eacute; Stan Laferri&egrave;re, qui signe aussi le chorus de guitare sur Sambou Sambou, le chorus siffl&eacute; par Christophe Davot sur Fim do Sonho de Jo&atilde;o Donato ou l&rsquo;acc&eacute;l&eacute;ration de tempo judicieuse sur Samba de Ver&atilde;o) et vous obtenez un cocktail haut de gamme !</span><br /><span class=Texte>La classe, incontestablement !</span><br /><span class=Soustitre><br />Francis Couvreux<br /></span><br /><span class=Source>(1) Patrick Williams, Django, Editions Parenth&egrave;ses, 1998.</span><br /><span class=Soustitre2><br />Paris Gadjo Club ou Django meets Brazil</span><br /><span class=Texte>O primeiro encontro real entre o jazz e a música brasileira aconteceu na d&eacute;cada de 1960 atrav&eacute;s de Stan Getz, Coleman Hawkins e alguns outros. Em 2018, quase 60 anos depois, o grupo Paris Gadjo Club, liderado pelo violonista Christophe Davot, publicou Caf&eacute; du Br&eacute;sil, Swingin&rsquo; the Choro, disco dum casamento musical in&eacute;dito, homenagem aos grandes compositores de choro, saudado pelo próprio grande Hamilton de Holanda, combinando música brasileira e swing cigano ; uma converg&ecirc;ncia sem&nbsp; precedentes e, no entanto, t&atilde;o óbvia, dado as semelhan&ccedil;as que saltam aos ouvidos, que nos surpreendemos que ningu&eacute;m tenha pensado nisso antes !</span><br /><span class=Texte>Lembremos ainda que Django Reinhardt gravou tr&ecirc;s vers&otilde;es de &laquo; Brazil &raquo;, soberbo samba composto em 1939 por Ary Barroso, eternizado pelo Jo&atilde;o Gilberto e cujo verdadeiro nome &eacute; Aquarela do Brasil (aliás um sucesso considerado pelos norte-americanos na &eacute;poca como uma &laquo; pacotilha exótica &raquo; e que Django fará um de seus cavalos de batalha), a primeira em 1947, outra em Roma em fevereiro de 1949 e a última, muito refinada de 10 de mar&ccedil;o de 1953 : &laquo; recapitula&ccedil;&atilde;o de tudo o que Django havia feito e de tudo o que ele come&ccedil;ava a fazer [...] um equilíbrio perfeito entre a riqueza do som e o despojamento da frase &rdquo;(1).</span><br /><span class=Texte>Com este Caf&eacute; du Br&eacute;sil II Sambou Sambou, n&atilde;o temos uma repeti&ccedil;&atilde;o do volume I, mas sim um prolongamento. Se dois choros aparecem nesta nova obra, Carinhoso de Pixinguinha e As Rosas N&atilde;o Falam de Cartola (este último muito bem cantado por H&eacute;l&egrave;ne Argo convidada nesse disco, que tamb&eacute;m interpreta com muita emo&ccedil;&atilde;o Saudade da Bahia de Dorival Caymmi), o grupo explora aqui o samba, a música mais popular do Brasil e mais conhecida em todo o mundo, e a bossa nova de ritmo mais lento, sincopado e apurado. Estas can&ccedil;&otilde;es n&atilde;o envelheceram (O Grande Amor ou Samba de Uma Nota Só de Tom Jobim, Samba de Ver&atilde;o de Marcos Valle etc.) e misturam sensualidade dos ritmos, eleg&acirc;ncia e beleza das melodias da música brasileira. A abordagem reinhardtiana do Paris Gadjo Club as reveste de roupas elegantes e muito próprias : instrumentos de cordas dedilhadas e clarineta (uma instrumenta&ccedil;&atilde;o id&ecirc;ntica &agrave; do segundo</span><br /><span class=Texte>quinteto do Hot Club de France), pulsa&ccedil;&atilde;o que se move e n&atilde;o se move que chamamos de &ldquo;pompe manouche&rdquo; e solo de guitarra &agrave; la Django.&nbsp; Poderíamos at&eacute; pensar que todas estas músicas foramcompostas nessa est&eacute;tica, já que esse tratamento original as torna t&atilde;o novas como se acabassem de ser criadas.</span><br /><span class=Texte>Se o resultado atinge tal qualidade &eacute; tamb&eacute;m e sobretudo porque os músicos que embarcaram nessa aventura musical s&atilde;o músicos de jazz experientes, que est&atilde;o entre os melhores do jazz franc&ecirc;s do swing e que se encontram em muitas forma&ccedil;&otilde;es. A rítmica flexível, leve, extremamente eficaz (Laurent Vanh&eacute;e, contrabaixo, Stan Laferri&egrave;re e Eric Fournier, guitarras), desenrola o tapete para solistas muito animados : Pierre-Louis Cas, com um toque muito lírico e constantemente inspirado pela clarineta (cf. seu solo em Insensatez) e, claro, Christophe Davot, dotado dum fraseado sensível e delicado e cujas improvisa&ccedil;&otilde;es admiravelmente construídas fazem as notas cantar com leveza e grande frescor de inspira&ccedil;&atilde;o (cf. seu solo &agrave; la Fapy Lafertin em O Grande Amor, por exemplo).</span><br /><span class=Texte>Neste disco, nada de fanfarronice ou conversa fiada, mas notas que fazem sentido e contam uma história. Serenidade, sutileza, sensibilidade e musicalidade s&atilde;o as marcas deste quinteto&nbsp; perfeitamente equilibrado que deixa a música respirar e onde todos t&ecirc;m espa&ccedil;o para se expressar. N&atilde;o contente em simplesmente dar o ritmo, Laurent Vanh&eacute;e, por exemplo, tamb&eacute;m atua como solista (cf. seu arco e seu solo no Carinhoso e suas interven&ccedil;&otilde;es no Sambou Sambou de Jo&atilde;o Donato e Só Dan&ccedil;o Samba de Tom Jobim). Na interpreta&ccedil;&atilde;o de Insensatez, renovada pelo impulso oscilante do swing cigano, &eacute; Eric Fournier quem se divide em um solo caprichado. Adicione a isso um verdadeiro som do conjunto, uma coloca&ccedil;&atilde;o impecável e ideias de arranjos originais (no bluesy Triste de Jobim, o melódica do talentoso multi-instrumentista Stan Laferri&egrave;re, que tamb&eacute;m assina o solo de guitarra no Sambou Sambou, o solo assobiado por Christophe Davot no Fim do Sonho de Jo&atilde;o Donato ou a maliciosa acelera&ccedil;&atilde;o do tempo no Samba de Ver&atilde;o) e voc&ecirc; ganha um coquetel de alta qualidade e de grande eleg&acirc;ncia, com certeza!</span><br /><span class=Soustitre><br />Francis Couvreux</span><br /><span class=Source><br />(1) Patrick Williams, Django, Editions Parenth&egrave;ses, 1998.</span><br /><span class=Soustitre>Cr&eacute;dits </span><br /><span class=Texte>Prise de son Christophe Davot : </span><span class=Texte>les 9 et 10 novembre 2019 au studio Bol&eacute;ro&nbsp; </span><br /><span class=Texte>Mixage et Mastering : Carl Schlosser </span><span class=Texte>au Studio du Marais</span><br /><span class=Texte>Dessins : Anna Marin</span><br /><span class=Texte>Conception visuelle : Sabine Segura</span><br /><span class=Texte>Texte livret : Francis Couvreux</span><br /><span class=Texte>Traduction textes en portugais du Br&eacute;sil : </span><span class=Texte>Cristina Goldman</span><br /><span class=Soustitre>Remerciements </span><br /><span class=Texte>Un grand merci au ma&icirc;tre pianiste et compositeur Jo&atilde;o Donato, &agrave; Ivone Belem, &agrave; H&eacute;l&egrave;ne Argo, Francis Couvreux,</span><br /><span class=Texte>Cristina Goldman, Anna Marin, Sabine Segura,</span><br /><span class=Texte>Oscar Barahona, Carl Shlosser, Roberta Cunha Valente, Thierry Brugier et Aurore Bouit </span><br /><span class=Texte>de Embase Syst&egrave;me Audio, Brahim Haouani, </span><br /><span class=Texte>Mathias Caron luthier, Jef&nbsp; Troulard,</span><br /><span class=Texte>Augustin Bondoux.</span><br /></p><p align=justify><br /></p><p align=justify><br /><span class=Soustitre>Contact </span><br /><span class=Texte>parisgadjoclub@gmail.com </span><br /><span class=Texte>www.parisgadjoclub.com</span><br /><span class=Texte>parisgadjoclub_ </span><br /><span class=Texte>Paris Gadjo Club</span><br /></p>"
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